How to Face Violence Against Women
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Karrin E. Wilks, Interim President, BMCC Monday | March 30, 2020
Welcoming Remarks: Karrin E. Wilks, Interim President, BMCC Monday | March 30, 2020 | 9:15 am- 9:30 am | Theatre 2 Opening Remarks: Maria Enrico, Chair, Modern Languages Department Monday | March 30, 2020 | 9:30 am-9.45 am | Theatre 2 Wonder Women! The Untold Story of American Superheroines Monday | March 30, 2020 | 10: 00 am-11: 30 pm | Theatre 2 Bande de filles | Girlhood Monday | March 30, 2020 | 12:00 pm- 2: 30 pm | Theatre 2 Bellisima Monday | March 30, 2020 | 3.00 pm-4:45 pm | Theatre 2 Welcoming Tuesday | March 31, 2020 | 9:15 am- 9:30 am | Theatre 2 وجدة | Wadjda Tuesday | March 31, 2020 | 9:30 am-11:30 am | Theatre 2 Not One Less | 一个都不能少 | Yīgè dōu bùnéng shǎo Tuesday | March 31, 2020 | 12:00 pm-2:30 pm | Theatre 2 Roma Tuesday | March 31, 2020 | 3:00 pm-5:40 pm | Theatre 2 Closing Write a review of your favorite movie O U R P E O P L E MARIA ENRICO (CHAIR) · RAFAEL CORBALÁN · EDA HENAO · SILVIA ÁLVAREZ-OLARRA · MARGARET CARSON · If you want to write reviews that carry PETER CONSENSTEIN · RACHEL CORKLE · ·BERENICE DARWICH · MARÍA DE LOS ÁNGELES DONOSO MACAYA · some authority, then you need to learn everything you can. GERMÁN GARRIDO · EVELIN GAMARRA-MARTÍNEZ · AINOA ÍÑIGO· LAURIE LOMASK · LING (EMILY) LUO · Some believe that in order to be a truly good film critic you must ALICIA PERDOMO H. · PATRIZIA COMELLO PERRY · SILVIA ROIG · SOPHIE MARÍÑEZ · JOHN THOMAS MEANS · have worked as a director, or that in order to review music you CHUN-YI PENG · NIDIA PULLÉS-LINARES · ÁLISTER RAMÍREZ-MÁRQUEZ · MARILYN RIVERA · FANNY M. -
She Is Not a Criminal
SHE IS NOT A CRIMINAL THE IMPACT OF IRELAND’S ABORTION LAW Amnesty International is a global movement of more than 7 million people who campaign for a world where human rights are enjoyed by all. Our vision is for every person to enjoy all the rights enshrined in the Universal Declaration of Human Rights and other international human rights standards. We are independent of any government, political ideology, economic interest or religion and are funded mainly by our membership and public donations. First published in 2015 by Amnesty International Ltd Peter Benenson House 1 Easton Street London WC1X 0DW United Kingdom © Amnesty International 2015 Index: EUR 29/1597/2015 Original language: English Printed by Amnesty International, International Secretariat, United Kingdom All rights reserved. This publication is copyright, but may be reproduced by any method without fee for advocacy, campaigning and teaching purposes, but not for resale. The copyright holders request that all such use be registered with them for impact assessment purposes. For copying in any other circumstances, or for reuse in other publications, or for translation or adaptation, prior written permission must be obtained from the publishers, and a fee may be payable. To request permission, or for any other inquiries, please contact [email protected] Cover photo: Stock image: Female patient sitting on a hospital bed. © Corbis amnesty.org CONTENTS 1. Executive summary ................................................................................................... 6 -
“Why Do They Want to Make Me Suffer Again?” the Impact of Abortion Prosecutions in Ecuador
HUMAN “Why Do They Want to RIGHTS WATCH Make Me Suffer Again?” The Impact of Abortion Prosecutions in Ecuador “Why Do They Want to Make Me Suffer Again?” The Impact of Abortion Prosecutions in Ecuador Copyright © 2021 Human Rights Watch All rights reserved. Printed in the United States of America ISBN: 978-1-62313-919-3 Cover design by Rafael Jimenez Human Rights Watch defends the rights of people worldwide. We scrupulously investigate abuses, expose the facts widely, and pressure those with power to respect rights and secure justice. Human Rights Watch is an independent, international organization that works as part of a vibrant movement to uphold human dignity and advance the cause of human rights for all. Human Rights Watch is an international organization with staff in more than 40 countries, and offices in Amsterdam, Beirut, Berlin, Brussels, Chicago, Geneva, Goma, Johannesburg, London, Los Angeles, Moscow, Nairobi, New York, Paris, San Francisco, Sydney, Tokyo, Toronto, Tunis, Washington DC, and Zurich. For more information, please visit our website: http://www.hrw.org JULY 2021 ISBN: 978-1-62313-919-3 “Why Do They Want to Make Me Suffer Again?” The Impact of Abortion Prosecutions in Ecuador Summary ........................................................................................................................... 1 Key Recommendations ....................................................................................................... 8 To the Presidency ................................................................................................................... -
Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
Immigrant Women in the Shadow of #Metoo
University of Baltimore Law Review Volume 49 Issue 1 Article 3 2019 Immigrant Women in the Shadow of #MeToo Nicole Hallett University of Buffalo School of Law, [email protected] Follow this and additional works at: https://scholarworks.law.ubalt.edu/ublr Part of the Law Commons Recommended Citation Hallett, Nicole (2019) "Immigrant Women in the Shadow of #MeToo," University of Baltimore Law Review: Vol. 49 : Iss. 1 , Article 3. Available at: https://scholarworks.law.ubalt.edu/ublr/vol49/iss1/3 This Article is brought to you for free and open access by ScholarWorks@University of Baltimore School of Law. It has been accepted for inclusion in University of Baltimore Law Review by an authorized editor of ScholarWorks@University of Baltimore School of Law. For more information, please contact [email protected]. IMMIGRANT WOMEN IN THE SHADOW OF #METOO Nicole Hallett* I. INTRODUCTION We hear Daniela Contreras’s voice, but we do not see her face in the video in which she recounts being raped by an employer at the age of sixteen.1 In the video, one of four released by a #MeToo advocacy group, Daniela speaks in Spanish about the power dynamic that led her to remain silent about her rape: I couldn’t believe that a man would go after a little girl. That a man would take advantage because he knew I wouldn’t say a word because I couldn’t speak the language. Because he knew I needed the money. Because he felt like he had the power. And that is why I kept quiet.2 Daniela’s story is unusual, not because she is an undocumented immigrant who was victimized -
Western Criticism, Labelling Practice and Self-Orientalised East Asian Films
Travelling Films: Western Criticism, Labelling Practice and Self-Orientalised East Asian Films Goldsmiths College University of London PhD thesis (Cultural Studies) Ji Yeon Lee Abstract This thesis analyses western criticism, labelling practices and the politics of European international film festivals. In particular, this thesis focuses on the impact of western criticism on East Asian films as they attempt to travel to the west and when they travel back to their home countries. This thesis draws on the critical arguments by Edward Said's Orientalism: Western Conceptions of the Orient (1978) and self-Orientalism, as articulated by Rey Chow, which is developed upon Mary Louise Pratt's conceptual tools such as 'contact zone' and 'autoethnography'. This thesis deals with three East Asian directors: Kitano Takeshi (Japanese director), Zhang Yimou (Chinese director) and 1m Kwon-Taek (Korean director). Dealing with Japanese, Chinese and Korean cinema is designed to show different historical and cultural configurations in which each cinema draws western attention. This thesis also illuminates different ways each cinema is appropriated and articulated in the west. This thesis scrutinises how three directors from the region have responded to this Orientalist discourse and investigates the unequal power relationship that controls the international circulation of films. Each director's response largely depends on the particular national and historical contexts of each country and each national cinema. The processes that characterise films' travelling are interrelated: the western conception of Japanese, Chinese or Korean cinema draws upon western Orientalism, but is at the same time corroborated by directors' responses. Through self-Orientalism, these directors, as 'Orientals', participate in forming and confirming the premises of western Orientalism. -
Supplementary Information on Kenya, Scheduled for Review by the Pre
Re: Supplementary Information on Kenya, Scheduled for Review by the Pre-sessional Working Group of the Committee on Economic, Social, and Cultural Rights during its 56th Session Distinguished Committee Members, This letter is intended to supplement the periodic report submitted by the government of Kenya, which is scheduled to be reviewed during the 56th pre-session of the Committee on Economic, Social and Cultural Rights (the Committee). The Center for Reproductive Rights (the Center) a global legal advocacy organization with headquarters in New York and, and regional offices in Nairobi, Bogotá, Kathmandu, Geneva, and Washington, D.C., hopes to further the work of the Committee by providing independent information concerning the rights protected under the International Covenant on Economic, Social and Cultural Rights (CESCR),1 and other international and regional human rights instruments which Kenya has ratified.2 The letter provides supplemental information on the following issues of concern regarding the sexual and reproductive rights of Kenyan women and girls: the high rate of preventable maternal mortality and morbidity; the abuse and mistreatment of women that attend maternal health care services; inaccessibility of safe abortion services and post-abortion care; lack of access to comprehensive family planning services and information; and discrimination resulting in gender-based violence and female genital mutilation. I. The Right to Equality and Non-Discrimination It has long been recognized that the obligation to ensure the rights -
Perspectives in Flux
Perspectives in Flux Red Sorghum and Ju Dou's Reception as a Reflection of the Times Paisley Singh Professor Smith 2/28/2013 East Asian Studies Thesis Seminar Singh 1 Abstract With historical and critical approach, this thesis examined how the general Chinese reception of director Zhang Yimou’s Red Sorghum and Ju Dou is reflective of the social conditions at the time of these films’ release. Both films hold very similar diegeses and as such, each generated similar forms of filmic interpretation within the academic world. Film scholars such as Rey Chow and Sheldon Lu have critiqued these films as especially critical of female marginalization and the Oedipus complex present within Chinese society. Additionally, the national allegorical framing of both films, a common pattern within Chinese literary and filmic traditions, has thoroughly been explored within the Chinese film discipline. Furthermore, both films have been subjected to accusations of Self-Orientalization and Occidentalism. The similarity between both films is undeniable and therefore comparable in reference to the social conditions present in China and the changing structures within the Chinese film industry during the late 1980s and early 1990s. Although Red Sorghum and Ju Dou are analogous, each received almost opposite reception from the general Chinese public. China's social and economic reform, film censorship, as well as the government’s intervention and regulation of the Chinese film industry had a heavy impact upon each film’s reception. Equally important is the incidence of specific events such as the implementation of the Open Door policy in the 1980s and 1989 Tiananmen Square Massacre. -
Cinematic Reconstruction of Historical Trauma in Twenty-First Century China
Does Time Heal?: Cinematic Reconstruction of Historical Trauma in Twenty-first Century China By Shiya Zhang B.A., Jilin University, 2004 A Thesis Submitted in Partial Fulfillment of the Requirement for the Degree of MASTER OF ARTS in the Department of Pacific and Asian Studies ©Shiya Zhang, 2018 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Does Time Heal?: Cinematic Reconstruction of Historical Trauma in Twenty-first Century China By Shiya Zhang Bachelor of Arts., Jilin University, 2004 Supervisory Committee Dr. Richard King, Supervisor (Department of Pacific and Asian Studies) Dr. Katsuhiko Endo, Departmental Member (Department of Pacific and Asian Studies) iii Supervisory Committee Dr. Richard King, Supervisor (Department of Pacific and Asian Studies) Dr. Katsuhiko Endo, Departmental Member (Department of Pacific and Asian Studies) Abstract While the whole world is talking about China’s rise in wealth and power, most focus has been placed on understanding China’s present policies and future orientations. However, very little attention is devoted to examining how historical consciousness affects present China. People take for granted that the past—particularly the landmark traumas of the communist decades— is a far-reaching historical discontinuity, and that China’s profound changes in every aspect of society have rendered the past increasingly irrelevant. However, this thesis argues that this assumption is wrong. This thesis explores the ways that Chinese filmmakers rearticulate the historical traumas which continue to affect Chinese society in the post-WTO era. -
Pregnancy from Rape Can Seem to Addition, 10.9 Percent of U.S
courages all victims from reporting rape, encourages isolation, and causes women to tive feelings and fears. Of those who continued 4 M. Planty et al., note 2. 5 their pregnancy, two-thirds developed more posi- C. Tietze, “Probability of pregnancy resulting from a single unpro- conceal signs of victimization. Because pregnan- tected coitus,” Fertility and Sterility 11: 5 (1960) 485-488. cy cannot be hidden, the mentality of blaming tive feelings toward their unborn child as the 6 Centers for Disease Control and Prevention, “National Survey the victim only encourages resort to abortion. pregnancy progressed. Their feelings of self- Family Growth 2006-2010,” U.S. Department of Health and Human Services, http://www.cdc.gov/nchs/nsfg.htm (accessed May esteem and contentedness improved during the 14, 2013). Response to pregnancy pregnancy, while anxiety, depression, anger and 7 Centers for Disease Control and Prevention, “National Survey fear decreased. Family Growth 2006-2010,” note 6; Guttmacher Institute, Rape victims may respond in a variety of ways “Contraceptive Use in the United States,” http://www.guttmacher.org/pubs/fb_contr_use.html (accessed May on learning they are pregnant—anger, fear, The abortion rate among rape victims (50 per- 14, 2013). anxiety, depression, complacency and anything cent) is not substantially higher than among all 8 L.B. Finer et al., “Reasons U.S. Women Have Abortions: else you can imagine. Family and friends often Quantitative and Qualitative Perspectives,” Perspectives on Sexual women who report an “unintended pregnancy” and Reproductive Health 37:3 (2005), feel helpless or are uncomfortable and embar- (40 percent).10 The majority of those who http://www.guttmacher.org/pubs/journals/3711005.html (accessed rassed. -
The Bombay the Terrorist Ti Koun .
644 CHAPTER 26 Beyond the Industrialized West 26.1 0 The Bandit Queen: Phoolan 26.1 1 Bombay's vision of a united India: as the parents are reunited with their Devi protects her wounded lover. children, hands drop weapons and stretch out in friendship. critical cinema. "In India, there is no salvation outside Yet local audiences remained loyal to the national the commercial cinema." 1 Also pursuing this path was product-which was now incorporating more sexuality Mani Rathnam, a Tamil filmmakerwho found great suc along with MTV dance styles (e.g., Trimurti, 1995). Juras cess with Nayakan ("Hero," 1986), an adaptation of The sic Park was unable to trump another 1994 release, the Godfather. Rathnam's Bombay (1994) denounces the traditional romantic comedy-drama Hum Aapke Hain bloody religious strife of the early 1990s. A Hindu jour Koun ... ! ("Who Am I to You? "). Filled with sparkling nalist marries a Muslim woman, and the couple and their studio-shot dance numbers (Color Plate 26.5), it became children are thrust into the middle of anti-Muslim riot the most popular filmof the decade. Even after restric ing. Bombay neighborhoods are spectacularly re-created tions were lifted, American imports claimed no more than in a Madras studio, riot scenes are shot and edited for 10 percent of the box office. In a country where nearly visceral force, hand-held cameras race through the half the population earned only a dollar a day, admission streets, and children watch as people trapped in cars are to a local filmran only about fifty cents while Hollywood burned alive. -
Case 1:17-Cv-02122-TSC Document 87-1 Filed 12/21/17 Page 1 of 8
Case 1:17-cv-02122-TSC Document 87-1 Filed 12/21/17 Page 1 of 8 Case 1:17-cv-02122-TSC Document 87-1 Filed 12/21/17 Page 2 of 8 Case 1:17-cv-02122-TSC Document 87-1 Filed 12/21/17 Page 3 of 8 Case 1:17-cv-02122-TSC Document 87-1 Filed 12/21/17 Page 4 of 8 Case 1:17-cv-02122-TSC Document 87-1 Filed 12/21/17 Page 5 of 8 NOTE TO FILE December 17, 2017 Scott Lloyd, Director Background We have in our custody an unaccompanied alien child (UAC) who is years old and who reported that she was sexually assaulted in her home country. Based on the timeframe she provided for the sexual assault, we have reason to believe that this assault resulted in her current pregnancy. While she also reported that she had a boyfriend in her home country with whom she had intercourse, the UAC also now believes she is pregnant with the child of her attacker. Several weeks after the assault, she made the journey to the United States where she attempted to cross the border illegally, but was apprehended at the border, and is now in our care. She originally requested an abortion upon confirmation that she was pregnant, but rescinded the request after she reported that her mother, and the who was to serve as her sponsor, threatened to “beat” her if she did so. She renewed her request after a few days, although language difficulties and other circumstances made it unclear that she knew what she was requesting.